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In this new collection of her provocative essays on Third World art and culture, Trinh Minh-ha offers new challenges to Western regimes of knowledge. Bringing to her subjects an acute sense of the many meanings of the marginal, she examines topics such as Asian and African texts, the theories of Barthes, questions of spectatorship, the enigmas of art, and the perils of anthropology. When the Moon Waxes Red is an extended argument against reductive analyses, even those that appear politically adroit. The multiply-hyphenated peoples of color are not simply placed in a duality between two cultural heritages; throughout, Trinh describes the predicament of having to live "a difference that has no name and too many names already." She argues for multicultural revision of knowledge so that a new politics can transform reality rather than merely ideologize it. By rewriting the always emerging, already distorted place of struggle, such work seeks to "beat the master at his own game."
In this new collection of her provocative essays on Third World art and culture, Trinh Minh-ha offers new challenges to Western regimes of knowledge. Bringing to her subjects an acute sense of the many meanings of the marginal, she examines topics such as Asian and African texts, the theories of Barthes, questions of spectatorship, the enigmas of art, and the perils of anthropology. When the Moon Waxes Red is an extended argument against reductive analyses, even those that appear politically adroit. The multiply-hyphenated peoples of color are not simply placed in a duality between two cultural heritages; throughout, Trinh describes the predicament of having to live "a difference that has no name and too many names already." She argues for multicultural revision of knowledge so that a new politics can transform reality rather than merely ideologize it. By rewriting the always emerging, already distorted place of struggle, such work seeks to "beat the master at his own game."
" . . . methodologically innovative . . . precise and perceptive and conscious . . . " —Text and Performance Quarterly "Woman, Native, Other is located at the juncture of a number of different fields and disciplines, and it genuinely succeeds in pushing the boundaries of these disciplines further. It is one of the very few theoretical attempts to grapple with the writings of women of color." —Chandra Talpade Mohanty "The idea of Trinh T. Minh-ha is as powerful as her films . . . formidable . . . " —Village Voice " . . . its very forms invite the reader to participate in the effort to understand how language structures lived possibilities." —Artpaper "Highly recommended for anyone struggling to understand voices and experiences of those 'we' label 'other'." —Religious Studies Review Audio book narrated by Betty Miller. Produced by Speechki in 2021.
"An image is powerful not necessarily because of anything specific it offers the viewer, but because of everything it apparently also takes away from the viewer." --Trinh T. Minh-ha Vietnamese filmmaker and feminist thinker Trinh T. Minh-ha is one of the most powerful and articulate voices in independent filmmaking. In her writings and interviews, as well as in her filmscripts, Trinh explores what she describes as the "infinite relation" of word to image. Cinema-Interval brings together her recent conversations on film and art, life and theory, with Homi Bhabha, Deb Verhoeven, Annamaria Morelli and other critics. Together these interviews offer the richest presentation of this extraordinary artist's ideas. Extensively illustrated in color and black and white, Cinema-Interval covers a wide range of issues, many of them concerning "the space between"--between viewer and film, image and text, interviewer and interviewee, lover and beloved. As an added bonus, the complete scripts of Trinh's films Surname Viet Given Name Nam and A Tale of Love are also included in the volume. Cinema-Interval will be an essential work for readers interested in contemporary film art, feminist thought, and postcolonial studies.
Describes the moon's phases as it orbits the Earth every twenty-nine days using rhyming text and cut-outs that illustrate each phase.
The stories of the fabled village of Chelm and its inhabitants are favorites in Jewish folklore. Newcomer Richard Ungar captures the joyous spirit of these folktales in his words and pictures. The people of Chelm were crazy about the moon and the way it bathed the village in light. Not content to wait for the moon to rise, some of the villagers decide to capture it so they could see it whenever they wish. First the carpenter tries to reach it with a ladder. The next night the cook tries to entice the moon with soup. The musician, the weaver, and the fisherman all use their arts to try to lure the moon down to the village. To everyone’s surprise, young Rachel succeeds. But how does she capture the moon?
Out There addresses the theme of cultural marginalization - the process whereby various groups are excluded from access to and participation in the dominant culture. It engages fundamental issues raised by attempts to define such concepts as mainstream, minority, and "other," and opens up new ways of thinking about culture and representation. All of the texts deal with questions of representation in the broadest sense, encompassing not just the visual but also the social and psychological aspects of cultural identity. Included are important theoretical writings by Homi Bhabha, Helene Cixous, Gilles Deleuze and Felix Guattari, and Monique Wittig. Their work is juxtaposed with essays on more overtly personal themes, often autobiographical, by Gloria Anzaldua, Bell Hooks, and Richard Rodriguez, among others. This rich anthology brings together voices from many different marginalized groups - groups that are often isolated from each other as well as from the dominant culture. It joins issues of gender, race, sexual preference, and class in one forum but without imposing a false unity on the diverse cultures represented. Each piece in the book subtly changes the way every other piece is read. While several essays focus on specific issues in art, such as John Yau's piece on Wilfredo Lam in the Museum of Modern Art, or James Clifford's on collecting art, others draw from debates in literature, film, and critical theory to provide a much broader context than is usually found in work aimed at an art audience. Topics range from the functions of language to the role of public art in the city, from gay pornography to the meanings of black hair styles. Out There also includes essays by Rosalyn Deutsche, Richard Dyer, Kobena Mercer, Edward Said, Gayatri Spivak, Gerald Vizenor and Simon Watney, as well as by the editors. Copublished with the New Museum of Contemporary Art, New York Distributed by The MIT Press.
D-Passage is a unique book by the world-renowned filmmaker, artist, and critical theorist Trinh T. Minh-ha. Taking as grounding forces her feature film Night Passage and installation L'Autre marche (The Other Walk), both co-created with Jean-Paul Bourdier, she discusses the impact of new technology on cinema culture and explores its effects on creative practice. Less a medium than a "way," the digital is here featured in its mobile, transformative passages. Trinh's reflections shed light on several of her major themes: temporality; transitions; transcultural encounters; ways of seeing and knowing; and the implications of the media used, the artistic practices engaged in, and the representations created. In D-Passage, form and structure, rhythm and movement, and language and imagery are inseparable. The book integrates essays, artistic statements, in-depth conversations, the script of Night Passage, movie stills, photos, and sketches.
Elsewhere, Within Here is an engaging look at travel across national borders--as a foreigner, a tourist, an immigrant, a refugee--in a pre- and post-9/11 world. Who is welcome where? What does it mean to feel out of place in the country you call home? When does the stranger appear in these times of dark metamorphoses? These are some of the issues addressed by the author as she examines the cultural meaning and complexities of travel, immigration, home and exile. The boundary, seen both as a material and immaterial event, is where endings pass into beginnings. Building upon themes present in he.
In this new work, renowned feminist filmmaker and postcolonial theorist Trinh T. Minh-ha offers a lyrical, philosophical meditation on the global state of endless war and the violence inflicted by the imperial need to claim victory. She discusses the rise of the police state as linked, for example, to U.S. military intervention in Iraq and Afghanistan, or to China’s occupation of Tibet, examining legacies of earlier campaigns and the residual effects of the war on terror. She also takes up the shifting dynamics of peoples’ resistance to acts of militarism and surveillance as well as social media and its capacity to inform and mobilize citizens around the world. At once an engaging treatise and a creative gesture, Lovecidal probes the physical and psychic conditions of the world and shows us a society that is profoundly heartsick. Taking up with those who march both as and for the oppressed—who walk with the disappeared to help carry them forward—Trinh T. Minh-ha engages the spiritual and affective dimensions of a civilization organized around the rubrics of nonstop governmental subjugation, economic austerity, and highly technologized military conflict. In doing so, she clears a path for us to walk upon. Along with our every step, the world of the disappeared lives on.